Auditions

In order to be admitted to the College of Music & Dramatic Arts and the School of Music, prospective undergraduate students must be admissible to LSU and pass an audition.

All students are strongly encouraged to audition during National Audition Weekend, which offers opportunities to attend LSU music classes, rehearsals and a school-wide performance. Students in need of an alternative date should contact their respective area coordinator or instrumental faculty member.

If you are unable to audition live, you may submit a recorded audition. The recording MUST be a video and should be submitted via Acceptd

Prospective students interested in minoring in music may also audition during the first week of classes.  If desired, music minor applicants can contact their respective area coordinator or instrumental faculty member for more information or alternate audition times. 

Prospective students only interested in ensemble participation do not need to audition. Ensemble auditions are held during the first week of classes.  Students can feel free to contact ensemble directors or departments directly for additional information.

Below is a comprehensive list of audition requirements and the associated faculty member(s) for each area of study.

Audition Repertoire/Portfolio Requirements

Darrel Hale 

  • Prepare three contrasting selections (by style and period) from the standard bassoon repertoire. These selections should include movements from a concerto or solo work as well as studies from standard etude collections such as Weissenborn, Ferling, and Milde.
  • Knowledge of all major, minor, and chromatic scales is assumed, and along with sight-reading, maybe assessed during your audition
  • The performance of orchestral excerpts is encouraged, but not required of freshman applicants. Transfer students are required to perform three to four contrasting excerpt from the standard repertoire. Memorization of these excerpts is required of transfer students.

Dennis Parker

  • A movement from a standard concerto of your choice
  • A movement from a Suite by J.S. Bach
  • An étude by David Popper

Deborah Chodacki 

  • Two etudes from the Rose Studies, one slow and one fast
  • Two contrasting pieces, these can be single movements from two different pieces of repertoire
  • Major scales and arpeggios

Eric Liffman

  • A Renaissance OR Baroque work such as Dowland, Milan, J.S. Bach, Weiss
  • An Etude by Sor, Giuliani or Carcassi
  • An Etude or Prelude by Villa-lobos, Brouwer or Ponce

Dinos Constantinides 

  • Submit examples of your complete compositions (at least one written by hand) to the College of Music and Dramatic Arts by January 15 (original manuscripts will not be returned).  For questions, contact the coordinator of composition.
  • Composition applicants are also required to audition on a primary instrument (voice, piano, violin, trumpet, classical guitar, etc.). In addition, composition applicants will have an interview with Coordinator of Composition to discuss musical skills and experience.

Yung-chiao Wei 

One or more of these selections should be performed from memory.

  • Two contrasting movements or style from the standard solo repertoire
  • Two contrasting orchestral excerpts

Jesse Allison

  • Instead of auditioning for a musical instrument studio, applicants should instead prepare a portfolio of pertinent work to submit to the Experimental Music & Digital Media (EM|DM) studio. (If applicants intend to additionally pursue an instrument, they should nonetheless set up an audition through the School of Music.)
  • The EMDM portfolio can take the form of a physical artifact of CD/DVD/documents, or preferably, a link to an e-portfolio consisting of examples of work that have been created within the Computer Music, Experimental Music, Music Technology, or Digital Media sphere.
  • As the program focuses on teaching computer music technology and aesthetics, composition, programming and/or engineering in a musical context (e.g. instrument design), and performance with technology, anything that might fit in would be good to see/hear.
  • Previous applications have consisted of: recordings, performances, pieces they’ve produced or mastered, animations, video art, sonic art, compositions, scores, websites, program code examples, Arduino hardware, or instruments they’ve made, and so on.
  • The portfolio is used as an admission mechanism and more importantly, to gauge where/how the student would fit into the program.

Katherine Kemler 

  • First movements of a Mozart Concert OR two contrasting movements (slow, fast) from a Bach Sonata
  • One contrasting piece of your choice from the standard flute repertoire
  • Prepare a chromatic scale (three octaves); and all major scales (minor scales are recommended but not required)

Gabriela Werries

  • Two contrasting works from the standard solo or etude literature
  • One orchestral excerpt or cadenza

Seth Orgel

  • The first movement exposition from two contrasting major horn concerti or major work for horn and piano
  • 3 orchestral excerpts of your choice that demonstrate high, low and lyrical playing
    OR the following three orchestral excerpts:
    • Tchaikovsky Symphony #5 Movement 2
    • Shostakovitch Symphony #5 Movement 1(low tutti section)
    • Wagner Short Call from Siegfried
  • Sight reading will be included as part of the audition.
  • Transfer students will be tested in their ability of transposition

Brian Shaw

Prepare three pieces from the standard jazz repertoire, memorized.

Play the melody and improvise one solo chorus.

You may use the following list as suggestions:

  • Blue Bossa
  • Blues in any key
  • So What

Be prepared to demonstrate ability on your chosen instrument by playing the following scales:

  • C Major – C Harmonic Minor
  • F Major – F Harmonic Minor
  • Bb Major – Bb Harmonic Minor
  • D Major – D Dorian
  • Eb Major – Eb Dorian

OR

Submit recordings of any music you have composed, arranged, or produced.

Johanna Cox

  • Two contrasting movements from standard solo literature (sonatas, concerti, and/or solo pieces),
  • A Baroque piece or movement,
  • One etude by Ferling or Barrett (40 Progressive Melodies)
  • All major scales.

Herndon Spillman

  • One Chorale Prelude or Prelude and Fugue from the Baroque period
  • One organ work from the Romantic or Contemporary periods
  • One prepared hymn selected by the candidate.

Brett Dietz 

Snare Drum:

  • 1 Etude (i.e., Peters, Cirone)
  • Rudiments
  • Sight Reading

Marimba:

  • One work for Two or Four Mallets (e.g., Masterpieces for Marimba by McMillan, Yellow After The Rain by Peters)
  • Major Scales
  • Sight Reading

Timpani:

  • 1 Piece (i.e., Peters, Firth, Carroll)

Michael Gurt

Alternate repertoire choices must be approved in advance by piano faculty.

Audition must be performed from memory. Exceptions must be approved by piano faculty.

  • A prelude and fugue by J.S. Bach OR 2-3 movements of a dance suite by J.S. Bach
  • A movement of a sonata by Haydn, Mozart, or Beethoven

One additional work of the applicant’s choice.

Griffin Campbell

  • Two contrasting works (one more technical, one more lyrical). These could be Ferling études, individual short pieces, or movements of a sonata or concerto.
  • Prepare all major and chromatic scales. The audition will also include sight-reading.
  • Persons wishing to transfer at advanced levels should contact the instructor for requirements.

Hana Beloglavec

Tenor Trombone

  • Two Contrasting Etudes, chosen from the following:Bordogni/Rochut Melodius Etudes
  • Tyrell 40 Progressive Studies
  • Voxman Selected Studies
  • Blazhevich Clef Studies
  • Solo/Concerto, chosen from the following:
      • Barat: Andante and Allegro
      • Guilmant: Morceau Symphonique
      • David: Concertino
      • Grøndahl: Concerto for Trombone
      • Saint-Saëns: Cavatine
      • Marcello Sonatas (any)
      • Galliard Sonatas (any)

Bass Trombone

  • Two Contrasting Etudes, chosen from the following:Bordogni/Rochut Melodious Etudes (8vb)
  • Blazhevich Low Range Studies
  • Grigoriev Bass Trombone Etudes (Hawes preferred; Ostrander accepted)
  • Tyrell Advanced Studies for B-flat Bass
  • Solo/Concerto, chosen from the following:Lebedev: Concert in One Movement
  • Sachse: Concertino
  • Stevens: Sonatina
  • Marcello Sonatas (any)
  • Galliard Sonatas (any)

Applicants may choose to perform extra material, including orchestral excerpts.

Auditions will also include sight-reading.

Brian Shaw

  • A solo with contrasting stylistic selections, or two contrasting études (these should be of sufficient difficulty to show your capabilities in each style of playing)
  • Prepare all major scales throughout your practical range (the audition may include sight-reading)

Joseph Skillen 

  • A solo with contrasting stylistic sections (technical and lyrical), or two contrasting études of sufficient difficulty to show your capabilities in each style of playing
  • Prepare all major scales throughout your practical range

Elias Goldstein 

  • A movement from any major viola concerto (excluding the Baroque period)
  • A movement from any sonata or a movement from the Bach solo suites
  • A caprice, études, or any short piece demonstrating your technical abilities

Lin He & Espen Lilleslatten 

  • A movement of a Mozart concerto
  • A movement of a 19th or 20th century concerto
  • Two contrasting movements of solo Bach
  • One études from Rode, Kreutzer or Dont
  • Prepare three octave scales and arpeggios

Loraine Sims 

An accompanist will be provided for the audition.

  • Two memorized selections, contrasting in style (Italian/English; slow/fast tempos, etc.)
  • Sight reading a brief musical excerpt